(Redirected from Glossary of ballet terms)
★ ''For more on the
equestrian movement, see
pirouette (dressage).''
A significant part of
ballet terminology is in the
French language.
''Unless there is much to say about a specific term, there is no reason to put each and every one of them into a separate article.''
''Please remember that foreign terms should be in ''italic'', unless commonly accepted in the English language.''
À la seconde
To the side or in second position. ''À la seconde'' usually means a step that moves sideways or a movement done to the side such as ''grand battement à la seconde''. Also refers to the male equivalent turn of foutte.
Adagio
ADAGE (French), ADAGIO (Italian)
In music, ''Adagio'' means "slowly", and in ballet it means slow, unfolding movements.
In a classical ballet class, the ''Adagio'' portion of the lesson concentrates on slow movements to improve the dancer's ability to control the leg and increase extension (i.e. to bring the leg into high positions with control and ease).
In a ''
Grand Pas'' (or ''Classical Pas de deux''; ''Grand Pas d'action''; etc.), the ''Adagio'' is usually referred to as the ''Grand adage'', and often follows the ''
Entrée''. This ''Adage'' is typically the central movement of the ''Grand Pas'' where the Ballerina is partnered by the lead male ''Danseur'' and/or one or more suitors.
In ballet, the word ''adagio'' does not refer to the music accompanying the dance but rather the type of balletic movement being performed. For example, the ''Grand adage'' of the famous ''Black Swan Pas de deux'' from
Swan Lake is musically an ''Andante'', while the choreography is ''Adagio''.
Allégro
Bright and brisk movements.
Aplomb
Aplomb refers to stability of the position.
Arabesque
Literally "in Arabic fashion". The position of the body supported on one leg, with the other leg extended behind the body with the knee straight. The back leg may either touch the floor in ''tendu'' back (called ''arabesque par terre''), or be raised at an angle. Common angles are 45° (also called ''à demi hauteur''), and 90° (''à la hauteur''). When the angle is much greater than 90° and the body leans forward in line with the back leg, the pose is called ''arabesque penchée''. There are also various arm positions, such as forward on the same side as the back leg or the other arm forward. See also:
Attitude.
Arrière
French for "back". A step ''en arrière'' moves backwards, away from the audience. A movement done to behind the dancer would be termed for instance ''grand battement en arrière''.
Assemblé
Literally "assembled". A movement where the first foot performs a ''battement glissé''/''degagé'', "swishing" out. With the dancer launching into a jump, the second foot then swishes up under the first foot. The feet meet together in mid-air, and the dancer lands with both feet on the floor at the same time, in third or fifth position.
Dancemelody.com - Assemblé. Illustrated Ballet Dictionary. Photos and Pictures.
Attitude
A pose in which the dancer stands on one leg, with the other leg lifted and the knee bent at approximately 120-degree angle. The lifted leg can be behind (''derrière''), in front (''en avant''), or on the side (''à la seconde'') of the body. See also:
Arabesque.
Avant
Refers to a direction to the front. A step ''en avant'' moves forwards. A movement done to the front would be for instance ''grand battement en avant''.
B
Balancé
French word for "balance". It is a movement beginning with one foot in ''coupé derrière'', then shooting out to support the other foot, the other foot coming behind in ''coupé derrière'', then rocking back on the foot in ''coupé'', then repeat.
Ballabile
'Ballabili' (or 'Ballabiles') is a
dance in a
ballet that is performed by the whole
corps de ballet, with or without the principal dancers. Often used to give the principal dancers a chance to rest and change between
variations in the context of a
Grand pas.
Ballerina
Italian for "female dancer".
Ballerina is a principal female dancer of a ballet company.
Ballet
A theatrical work or entertainment in which a choreographer has expressed his ideas in group and solo dancing to a musical accompaniment with appropriate costumes, scenery and lighting.
Balletomane
A ballet fan or enthusiast. The word was invented in Russia in the early nineteenth century.
Ballon
''Ballon'' means appearing to hover or float in the air at the apex of a jump. It describes a quality, not the elevation or height, of the jump. Even in small, quick jumps (''petit allegro''), dancers strive to exhibit ''ballon''.
Barre
A horizontal bar, approximately waist height, used for warm-up and exercises for ballet techniques. The study of ballet, and each class, will commonly start at the barre for everyone. Usually wooden and mounted along a wall, usually with the mirrors, there are also portable barres for individuals or group work.
Battement
This is a 'kicking' movement of the working leg (i.e. the leg that is performing a technique). ''Battements'' are usually executed in front (''en avant'' or ''à la quatrieme devant''), to the side (''à la seconde'') or back (''en arrière'' or ''à la quatrieme derrière'').
:
★ 'battement tendu jeté' (Russian school) is a ''battement'' normally taken to anywhere from 2 cm off the floor up to 45 degrees, depending on the style. It is the same as ''battement dégagé'' (Cecchetti) or ''battement glissé'' (French school).
:
★ 'battement fondu' is a ''battement'' (usually slower) from a ''fondu'' (both knees bent, working foot on the ''cou-de-pied'' of the supporting leg) position and extends until both legs are straight. It can be executed ''double''.
:
★ 'battement frappé' is a ''battement'' where the foot moves from a flexed position next to the other ankle, and extends out to a straight position, by doing so hitting the floor (the so-called ''frappé''). In the Russian school the foot is wrapped around the ankle, rather than flexed and does not strike the floor. In this case, the ''frappè'' is given by the working foot striking the ankle of the supporting leg. ''Battements frappès'' can be executed ''double''.
:
★ 'battement glissé' is a rapid ''battement'' normally taken to 2-3 centimeters off the floor (literally means a "gliding" ''battement''). See ''battement tendu jeté''.
:
★ 'battement lent' is a slow ''battement'', normally taken as high as possible, which involves considerable control and strength.
:
★ 'battement tendu' is a battement where the extended foot never leaves the floor. The working foot slides forward or sideways from the fifth or first position to reach the forth or second position, lifting the heel off the floor and stretching the instep. It forms the preparation for many other positions, such as the ''ronds de jambe'' and ''pirouette'' positions.
:
★ 'petit battement' is a ''battement'' action where the bending action is at the knee, while the upper leg and thigh remain still. The working foot quickly alternates from the ''cou-de-pied'' position in the front to the ''cou-de-pied'' position in the back, slightly opening to the side.
:
★ 'grande battement' is a powerful ''battement'' action where the dancer takes the leg as high as they can, while the supporting leg remains straight.
:
★ 'grande battement en cloche' is a ''grand battement'' which continuously "swishes" forwards and backwards passing through the first position of the feet (literally: large battement with pendulum movement).
Batterie
A whole family of techniques involving jumps, where the feet cross quickly in front and behind each other, creating a flapping or "beating" effect mid-air.
Also called ''beats'' in the Royal Academy of Dance (RAD) syllabus.
Brisé
A jump similar to an ''assemblé''. One leg is thrust from the fifth position to the second position in the air; the second leg reaches the first in mid-air executing a beat. It is a traveling movement. In other words, the dancer executes an ''assemblè'', then, doing a beat, changes fifth positions in the air.
C
Chaînés
This is a common abbreviation for ''tours chaînés déboulés'', which is a series of quick turns on alternating feet with progression along a straight line or circle. They are also know as ''chaînés tournes''. In classical ballet it is done on the pointes or
demi-pointes (on the balls of the feet).
Changement
Literally "exchange". A jump in which the feet change positions in the air. For example, beginning in fifth position with the right foot front, ''plié'' and jump, switching the right to the back, landing with the left foot in front in fifth position.
Petit changement de pied - Video for ballet teachers - www.dancemelody.com
Chassé
Chassé, literally chased or hunted. A slide forwards, backwards, or sideways with both legs bent, then springing into the air with legs meeting and straightened. It can be done either in a gallop (like children pretending to ride a horse) or by pushing the first foot along the floor in a ''plié'' to make the springing jump up.
Coda
Literally "tail". In music, a
coda is a passage which brings a movement or a separate piece to a conclusion. In ballet a ''coda'' has essentially the same function, though it is always an independent musical movement.
In ballet, a ''coda'' is typically the ending, or "finale", of a suite of dances known as the ''
Grand Pas'' or ''
Grand Pas d'action'', and brings the suite to a close. A ''coda'' also serves the same function in a ''Classical Pas de deux'', etc.
A ''coda'' can take many forms. For a large or complex ''Pas d'action'' or ''Grand Pas'', the ''coda'' is usually given the title ''Grand Coda''. If a large group of dancers are in involved, it is usually titled ''Coda Générale''. The ''coda'' may serve also as the final number of a particular scene, in which case it is usually given the title ''Grand Coda Générale''.
In ballet there are many famous ''coda''. One in particular is for the ''Black Swan Pas de deux'' from ''
Swan Lake'', in which the Ballerina performs the famous
32 fouettés en tournant. Another celebrated ''coda'' is from the ''
Le Corsaire Pas de Deux''.
Croisé, croisée
The crossing of the legs, with the body placed at an oblique angle to the audience. The leg may be crossed to the front or to the back.
''Croisé'' is used in the third, fourth and fifth positions of the legs. The dancer is in ''croisé'' if the front leg is the right leg, and the dancer is facing the front-left corner of the stage; or if the front leg is the left, and the dancer is facing the front-right corner, then the dancer is in ''croisé''. One of the directions of ''épaulement''.
D
Demi
(dem-EE) Half, or small. Applied to ''plié'' and ''pointe'' and other movements or positions to indicate a smaller or lesser version.
Derrière
(derry air) At or to the back side. For example, a ''battement tendu derrière'' is a ''battement tendu'' taken to the rear.
Dessous
(dessoo) Literally "under". Used where the front leg is brought to the back, in techniques such as the ''assemblé'', ''pas de bourrée'', and ''glissade''.
Dessus
(deh syoo) Literally "over". Used where the back leg is brought to the front, in techniques such as the ''assemblé'', ''pas de bourrée'', and ''glissade''.
Devant
Literally "front". For example, ''tendu devant'' would mean stretching the foot to the front, or ''attitude devant'' would mean executing an ''attitude'' to the front.
Développé
(day vello PAY) A movement in which the leg is first lifted to ''retiré'' position, then fully extended passing through ''attitude'' position. It can be done in front (''en avant''), to the side (''à la seconde''), or to the back (''derrière'').
Double
(doobl) Making two of the movement, such as in ''double battement fondu'' and ''double rond de jambe en l'air''.
E
Echappé
(eh sha PAY). Literally "escaped". A movement done from first or fifth position. It goes or "escapes" into either second or fourth, then returns to first or fifth position.
Effacé, effacée
(ef fah say) Literally "shaded". One of the directions of ''épaulement'' in which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view. This direction is termed ''ouvert'' in the French method. ''Effacé'' is also used to qualify a pose in which the legs are open, not crossed. This pose may be taken ''devant'' or ''derrière'', either ''à terre'' or ''en l'air''. If the front leg is the right, and the dancer is facing the front-right corner of the stage, he is in ''effacé''; or, if the front leg is the left and she is facing the front-left corner, she is in ''effacé''. This position is the opposite of ''croise''.
Elevé
(ay-leh-VAY). Literally "rise". A ''relevé'' without the ''plié'', so that the dancer simply rises directly to ''demi'' or ''pointe'' from flat feet.
See
Rélevé.
En dedans
Movement within a circle so that the leg starts at the back or the side and moves towards the front. For the right leg, this is a counter-clockwise circle. For the left leg, this is a clockwise circle. It is also considered an inside movement: if you were facing toward the barre, the leg would sweep toward the barre. If you can remember ''devant'' you can remember ''dedans''. The opposite is ''en dehors''.
En dehors
(on day OR) Movement within a circle so that the leg starts at the front or the side and moves towards the back. For the right leg, this is a clockwise circle. For the left leg, this is a counter-clockwise circle. You might remember "En dehors -- open the door" because it is considered an open or outside movement, such as for a pirouette. ''En dedans'' is the opposite.
Entrechat
Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other, usually jumping from the fifth position and landing back in the fifth position. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an entrechat quatre each leg makes two distinct movements. Entrechats are divided into two general classes: the even-numbered entrechats, or those which land on two feet-- deux, quatre, six, huit and dix-- and the odd-numbered entrechats, or those which land on one foot-- trois, cinq, sept and neuf.
For example: in an Entrechat-quatre, the dancer will jump from the fifth position, crossing his legs twice, landing in the same position he started.
Entrée
In ballet, the term ''Entrée'' has two meanings -
# ''Entrée'' can refer to the opening number in a suite a dances known as the ''
Grand Pas'' (or ''Grand Pas d'action''; ''Classical Pas de deux''; etc.) The ''Entrée'' typically preceeds the ''Grand Adage'',and is typically a short number which serves as an ''introduction'' for the suite. One famous ''Entrée'' is the opening number of the famous ''
Paquita Grand Pas Classique'', in which the lead Ballerina and the ''corps de ballet'' perform a waltz. Another famous ''Entrée'' is the opening waltz to the ''Black Swan Pas de deux'' from ''
Swan Lake''. When the term ''Entrée'' refers to the opening number of the ''Grand Pas'', etc., it is referred to in musical terms as the ''Intrada''.
# ''Entrée'' can also mean a number in which the lead character or characters of a ballet make their initial appearance on stage. One famous ''Entrée'' occurs in the first act of the
Petipa/
Tchaikovsky ballet ''
The Sleeping Beauty'', in which the Princess Aurora makes her ''Entrée'' during her birthday celebrations. Another occurs in the first act of the Petipa/
Minkus ballet ''
La Bayadère'', in which the temple dancer Nikiya makes her entrance during the festival of fire. The opening harp candenza of the celebrated ''
Le Corsaire Pas de Deux'' serves as the musical ''Entrée'', as the ''Danseur'' also makes his ''Entrée'' before the ''Grand adage''.
Epaulement
Literally "shouldering". Rotation of the shoulders and head relative to the hips in a pose or a step.
F
Five Positions of the feet
('NOTE:' the photos are ''only'' for relative positions. In all, the rolled ankles and collapsed arches show what beginners must greatly improve with practice, or fail in ballet.)
These five positions were set down by the dancing master
Pierre Beauchamp in the late
17th century.
★ 'First position'
The dancer stands with feet well rotated in "turn-out" and touching heel to heel, making as nearly a straight alignment as possible. The knees are also touching with legs straightened. Proper turn-out requires flexibility at the hips and correct posture, and is a fundamental characteristic of classical ballet.
1st position with pointe shoes.
★ 'Second position'
The dancer stands with feet turned out along a straight line as in first position, but with the heels about one foot apart. The term ''seconde'' generally means to or at the side.
2nd position with pointe shoes.
★ 'Third position'
The dancer's feet are aligned to the turn-out of first position, but with one foot to the front and the heel of the front foot close to the arch of the back foot. There are two third positions, depending on which foot is in front.
(no photo)
★ 'Fifth position'
The dancer stands with feet turned out as in first position, but the heel of one foot is placed close to the toe of the other foot, so that the legs are crossed more than third position. There are two fifth positions, depending on which foot is in front.
5th position with pointe shoes.
★ 'Fourth position'
Fifth position, but with feet about a foot apart to the front. If the heel of the front foot is in line with the heel of the back foot, that is called "open" fourth. There are two main fourth positions, depending on which foot is in front.
4th position with demipointe shoes.
★ 'Sixth position'
Although not used much, there is a sixth position for normally parallel feet. For example, in ''pas couru sur les pointes en avant'' or ''en arrière'', the feet are in sixth position.
Fouetté
(fweh TAY). Literally "whipped". Indicates a turn with a quick change in the direction of the working leg as it passes in front of or behind the supporting leg. There are many kinds of ''fouetté''; one form is when the dancer executes a ''grand battement'' front or back, then turns the hip to face the opposite direction from the starting point.
Fouetté jeté
(fweh-TAY jeh-TAY) literally "whipped throw". A leap which starts as a ''fouetté'' and then the second leg also kicks in front.
Fouetté rond de jambe en tournant
Dancer performing ''Fouetté en tournant''★ For history, see main article on ''
32 fouettés en tournant''.
A turn made by using a ''fouetté''. For each turn the dancer stands momentarily on flat foot and in ''plié'', as the working leg is extended in front then whipped around to the side as the working foot is pulled in to touch behind the supporting knee. That creates the impetus to spin one turn as the dancer executes a ''relevé'', rising onto ''pointe''. Done properly, the dancer remains in place. The famous 32 continuous ''fouettés'' in the coda of the "Black Swan" ''Pas de Deux'' from
Swan Lake are a bravura performance designed to express the strength and triumph of the character.
Frappé
Literally "hit" or "strike". See
''Battement frappé'' describing hitting the floor or an ankle with a moving foot.
G
Glissade
Literally, to glide. This is a traveling step starting in fifth position with ''demi-plié'': the front foot moves out to a point, both legs briefly straighten as weight is shifted onto the pointed foot, and the other foot moves in to meet the first. A ''glissade'' can be ''en avant'', ''en arrière'', ''dessous'', and ''dessus''.
Grand Pas and Grand Pas d'action
Literally, big or large step. A large suite of dances that serves as a showpiece for lead dancers, demi-soloists, and possibly the ''corps de ballet''. A simple ''Grand Pas'' does not carry the action of the ballet forward.
If a ''Grand Pas'' also contributes to the story of a ballet, it is then known as the ''Grand Pas d'action'' and is considered a highlight of the ballet as a whole.
A ''Grand Pas'' can also be a ''Grand Pas Classique'', meaning that classical technique prevails and no character dances are included.
A ''Grand Pas'' usually consists of the ''
Entreé'', the ''
Grand Adage'', an optional dance for the ''corps de ballet'', optional variations for the demi-soloists, variations for the lead Ballerina and ''Danseur'', and a final ''
Grand Coda'' or ''Coda générale'' which serves to bring the whole piece to a conclusion. Depending on the number of dancers, the ''Grand Pas'' can be a ''
Pas de deux'', ''
Pas de trois'', etc.
One famous ''Grand Pas'' was created by
Marius Petipa in 1881 for his revival of
Joseph Mazilier's ballet ''
Paquita''. This is known today as the ''Paquita Grand Pas Classique'', and is danced by many companies throughout the world.
A rather elborate ''Grand Pas'' which has only recently been revived is from the 1862 Petipa/
Pugni ballet
The Pharaoh's Daughter. The dances are presented in Petipa's original order, but only a few are presented in his original choreography. This ''Grand Pas'' is arranged as ''Entrée'', Variations for 3 demi-soloists, ''Grand Adagio'', Waltz for the ''corps de ballet'', variations for the three lead soloists, and the final ''Coda Générale''.
There are many famous ''Grand Pas d'action'' as well, one being from the first Act of the 1890 Petipa/
Tchaikovsky ballet
The Sleeping Beauty. This consists of the famous ''Grand Adagio'' known as the "Rose Adagio", a "Dance for the Maids of Honor and Pages", the "Variation of Aurora", and the ''Coda'', which is interrupted by the evil fairy Carabosse who gives the Princess Aurora the poisoned spindle. In the context of the full-length ballet, this particular ''Grand Pas d'action'' helps contribute to the action, with the Princess Aurora choosing between her four prospective princes and receiving a rose from each.
Many ''Grand Pas'' and ''Grand Pas d'action'' are performed independently.
Grand plié
(grahn pli AY) A full ''plié'', or bending of the knees. The back should be straight and aligned with the heels, and the legs are turned out with knees over the feet. As a movement, it should be fluid. It may also be in preparation for another movement such as a leap.
Student dancers in grand jeté
Grand jeté
(grahn jeh TAY) A long horizontal jump, starting from one leg and landing on the other. It is most often done forward and usually involves doing full leg splits in mid-air. Also called ''grand écart en l'air'', and referred to in some schools as ''Saut de chat'', or ''Grand Pas de Chat''.
P
Partnering
In general, partnering is an effort by both the male and female dancers to achieve a harmony of movement so that the audience is unaware of the mechanics to enjoy the emotional effects. Also known as ''pas de deux'' dance for two.
For a male dancer,
partnering includes lifting, catching, and carrying a partner, also assisting with leaps, promenades and supported pirouettes. For a female dancer, partnering means helping with that help.
Pas
(pah) Literally "step". In ballet, a combination of steps which make up a dance (similar to "routine" in other dance forms). ''Pas'' is used to refer to a particular suite of dances, i.e. ''Pas de deux'', ''Grand Pas d'action'', etc., and may also refer to a
variation. The word "combination" may be used.
★ 'Pas de chat' - "step of the cat". The dancer jumps sideways, and while in mid-air, bends both legs back to touch the feet to the buttocks, with knees apart. The
Dance of the Cygnets from
Swan Lake involves sixteen ''pas de chat'', performed by four dancers holding hands with their arms interlaced.
★ 'Grand pas de chat' - A jump with a ''developpé'' to one leg front and one leg back in the air.
★ 'Pas de basque' - "step of the Basques". Halfway between a step and a leap, taken on the floor (''glissé'') or with a jump (''sauté''), and can be done moving toward the front or toward the back.
★ 'Pas de bourrée' - three quick steps. When done ''a la seconde'' the feet usually switch ''derrier'' positions (right left right).
★ 'Pas de cheval' - "step of the horse". The dancer does a ''coupé'' then a small ''developpé'' and ''tendus'' back into starting position.
★ 'Pas de poisson' - "step of the fish". The dancer begins from fifth position and ''grand plié'', and jumps arching the back with the legs straightened behind, so that the whole body is curved like a fish jumping out of water.
★ 'Pas de valse' - "waltz step". A travelling step done to music in 3/4 time, either straight or while turning (''en tournant'').
Passé
As a position ''passé'' means when a foot is placed near or on the other knee.
As a movement ''passé'' refers to the working foot passing close to the knee of the standing leg. When the foot arrives by the knee, it passes from the front to the back or back to front, and continues either to return to the floor by sliding down the supporting leg or into an ''arabesque'' or ''attitude'' etc.
See
Retiré.
Pirouette
A controlled turn on one leg, starting with one or both legs in ''plié'', rising onto ''demi-pointe'' (usually for men) or ''pointe'' (usually for women). The other leg can be held in
''retiré'' position, or in ''attitude'', ''grand battement'' level or second position. The pirouette can return to starting position, or finish in ''arabesque'' or ''attitude'' positions, or proceed otherwise. A pirouette can be
''en dehors'' turning outwards, or
''en dedans'' turning inwards. Most, and the one we think of as typical, are done ''en dehors''.
Pirouettes can be done with a single, a double, a triple rotation, or more. Correct technique includes a periodic whipping movement of the head keeping the dancer's gaze on a single spot, referred to as "spotting".
Piqué
Literally “pricked". A movement in which the strongly pointed toe of the lifted and extended leg sharply lowers to hit the floor then immediately rebounds upward. Same for some as the term ''pointé''.
Also a movement in which the dancer transfers a stance from one leg in ''plié'' to the other leg by stepping out directly onto ''pointe'' or ''demi-pointe'' with a straight leg; for example, a ''piqué arabesque''.
Plié
Literally "bent". A smooth and continuous bending of the knees.
This can be ''demi-plié'', a bend to the deepest position where the heels stay on the floor. For ''grand-plié'' the dancer bends knees all the way down past the hips , while maintaining classical turn-out at the hip joints, allowing the thighs and knees to be directly above the line of the toes and the heels to lift off the floor.
Pointe work
Main articles: En pointe
Performing steps while on the tips of the toes.
Port de bras
(por d'brah) Literally "carriage of the arms". Sometimes misspelled "porte-bras". Movement of the arms to different positions. The basic ''port de bras'' exercise moves from ''bras bas'' to first arm position, to second arm position, then back down to ''bras bas''. A full ''port de bras'' moves from ''bras bas'' to fifth overhead and back down.
Example:
See Video
See Page with this video
Positions of the arms
Arms in Bolshoi fourth position
There are two basic positions for the arms. In one, the dancer keeps the fingers of both arms almost touching to form an oval shape. In the other, the arms are extended to the sides with the elbows slightly bent. These positions may be combined to give other positions.
Names differ according to the method followed, such as Vaganova, French, Cecchetti, etc. The following descriptions apply to the rounded positions of the arms; the corresponding ''allongés'' positions are obtained by stretching the elbows and rotating the palms of the hands downwards.
''Vaganova'' or Russian school:
★ 'Bras bas' preparatory position: both arms are down and rounded with both hands just in front of the hips, fingers almost touching.
★ 'First position': maintaining the curved shape, arms are brought up so that the tips of the fingers are in line with the navel or no higher than the sternum.
★ 'Second position': arms are out to the sides, angled down and forward, with palms facing forward. Elbows are slightly lower than the shoulders, and wrists are level with the elbow.
★ 'Third position': arms are curved as in first position and raised just above and slightly forward of the head.
Combinations of the basic arm positions are called:
★ 'Petite pose:' one arm is in second position, the other is in first position
★ 'Grande pose:' one arm is in second position, the other is in third position
These are used mainly in the centre.
''French'' school:
★ 'Bras bas' or ''bras au repos'': both arms are rounded with the fingers almost touching, both hands just in front of the hips.
★ 'First position': maintaining this curved shape, arms are brought up so that the tips of the fingers are in line with the navel.
★ 'Second position': arms are out to the sides, angled down and forward, with palms facing forward. Elbows are slightly lower than the shoulders, and wrists are slightly lower than the elbow.
★ 'Third position': one arm is in second position, the other is rounded and raised above the head.
★ 'Fourth position': one arm is in first position, the other is rounded and raised above the head.
★ 'Fifth position' or ''bras en couronne'': both arms are rounded and held above and slightly forward of the head.
''Cecchetti method'':
★ 'First position': both arms are slightly rounded with the fingers beside the dancer's thighs (as if holding the tutu).
★ 'Second position': arms are out to the sides with an angle down and forward, palms facing forward. The elbow is slightly lower than the shoulder, and the wrist is slightly lower than the elbow. A position intermediate between the first and the second position is called ''demi-seconde''.
★ 'Third position': one arm is in the first position, the other is in ''demi-seconde''.
★ 'Fourth position' - Fourth ''en avant'' in front: one arm is in second position, the other is in fifth ''en avant''. Fourth ''en haut'' high: one arm is in second position, the other is in fifth position ''en haut''.
★ 'Fifth position': whenever the arms are rounded to form an oval, they are in fifth position. There is a fifth position ''en bas'' down; ''en avant'' forward (Russian and French first position); and ''en haut'' high (Russian third position).
R
Rélevé
(reh leh VAY) Literally "lifted". Rising from ''plié'' position to balance on one foot on at least ''demi-pointe'' or higher. Smoothly done in some versions, a quick little leap up in other schools.
See
Elevé.
Retiré position
The working leg is raised to the side, with knee sharply bent so the toe is pointed next to the supporting knee (front, side, back). Common pose during standard pirouette, intermediate position for other moves.
Rond de jambe
Literally "circle of the leg". Actually, half-circles made by the pointed foot, returning through first position to repeat. From front to back ''rond de jambe en dehors'', or from back to front ''rond de jambe en dedans''.
★ 'Rond de jambe à terre': straightened leg with pointed toe remaining on the ground to sweep around.
★ 'Rond de jambe en l'air': in the air. The leg is lifted to the side, movement is only below the knee. If the thigh is horizontal, the toe draws an oval approximately between the knee of the support leg and the second position in the air. If the thigh is in the lower ''demi-position'' then the oval is to the calf of the support knee.
★ 'Demi-grand rond de jambe': the leg is straightened and sustained horizontal to make the circle to the side. If not reversed, foot returns past the knee.
★ 'Grand rond de jambe': the leg is straightened and sustained at ''grand battement'' height, with the foot making the circle high. Requires advanced "extension" flexibility and strength. If not reversed, foot returns past the knee.
S
Sauté
(soh TAY) Literally "jump". ''Sautés'' include:
★ 'Petits sautés' (peh ti): small jumps, in which the feet do not change positions in mid-air.
★ 'Echappés sautés' (eh shah pay) "ripping jump": the legs jump up together, but split apart mid-air and land in second position.
★ 'Changements' (shanje-mawn): the feet change position, i.e. front and back feet swap, very close together, in mid-air.
★ 'Entrechats' (ontreh-shah): A jump with a rapid beating motion, creating a blurring effect of the feet in mid-air. Assume right foot front fifth position, jump and while in mid-air beat the right foot back and front. Land fifth position right foot front.
Second position, ''seconde''
Any position with parts separated to the side.
T
Tour en l'air
Literally "turn in the air". A jump, typically for a male, with a full rotation. The landing can be to both feet; on one leg with the other extended in ''attitude'' or ''arabesque''; or down to one knee, as at the end of a
variation. A single ''tour'' is a 360° rotation, a double is 720°.
Vaslav Nijinsky was known to perform triple ''tours en l'air''.
Turn-out, turnout
Main articles: Turnout (ballet)
A rotation of the leg from the hips, causing the knee and foot to also turn outward. Properly done, the ankles remain erect and the foot arch remains curved and supporting.
Turn-out technique is a defining characteristic of Classical Ballet. Not all dancers do have a perfect turn-out; but it is definitely a measure for selection. In beginner classes, a less-than-perfect turn-out is tolerated to save stress to knee joints until the ability is acquired.
See also
★
Dance basic topics
★
Ballet
★
Glossary of ballroom dance terms
References
★
Dictionary of Classical Ballet Terminology, , R., Ryman, Princeton Book, 1998, ISBN 0-9524848-0-3
★
Basic principles of classical ballet, , A, Vaganova, , ,
★
Theory and practice of classical theathrical dancing - methode Cecchetti, , C, Beaumont, , ,
★
Technical manual and dictionary of classical ballet, , G, Grant, , ,
External links
★
American Ballet Theater: Video Dictionary
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